ABHISHEK RAGHURAM/KUNNAKUDI BALAMURALI-VANI MAHAL-24/2/17

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CRama
Posts: 2939
Joined: 18 Nov 2009, 16:58

ABHISHEK RAGHURAM/KUNNAKUDI BALAMURALI-VANI MAHAL-24/2/17

Post by CRama »

Accompanists- H.N.Bhaskar-Violin
Anantha R Krishnan-Mridangam
Sreesunderkumar-Ganjira
List of songs
• Varnam-Saveri
• Chede Budhimanura-Athana-T (R)
• Seethamma Mayamma-Vasantha-T (R,N)
• Etijanmamidiha-Varali-T (R)
• Chakkaniraja-Kharaharapiya-T (R,N,S)
• Tani
• Siva siva siva bho-Nadanamakriya-Mysore Maharaja


It is organised for the 11th Anniversary of the Single Teacher Schools Management. Because of the speeches, the concert started at 7 P.M although it was announced as 6.30 P.M. It was a benefit performance by Abhishek and the team for the second year. The concert was free for the rasikas also. Compliments to the team for this kind gesture.

The concert started with spright rendition of the Saveri varnam. Then the alapana of Athana shared by both the singers. While I was expecting Ilalo Pranatharthihara, they sang Chede budhi manura. The song was rendered well with all gusto. Next came an energetic alapana of Vasantha unfolded step by step very aesthetically by both the singers for ten minutes. The song chosen was Seethamma Mayamma. In fact, the entire concert looked like a Ramanavami concert (on a Sivarathri Day). I would have been thrilled if they had presented an exclusive Siva kritis concert. There was a very elaborate high decibel neraval at Dharanija bhagavathagresaru—with the mel kalam neraval reaching the highest decibel commanding a full house applause. This is exactly what I had written in the review of TMK concert. This long high decibel neraval ending without the following swaras was also one aberration started by TMK which now many male singers are following. I feel disappointed when the swarams are skipped after the neraval. In the concerts of Santhanam or SSI or MMI, they will generally follow the neraval with swarams. May be in a long concert having three neravals, they may skip swaram for one song. (Eg, M.S generally do not sing swaram for Sree Kamakoti peedasthithe, after the famous neraval at Kadamba vana nilaye). But Abhishek generally sings swarams after neraval.

Next ragam Varali was presented by both the singers singing sangatis alternatively. But the raga swaroopam came out very well and there was continuity in the flow of sangathis. The song Eti janmamidiha was started from the Anupallavi and the song completed without any manodharmam elements.

No swaram for any song so far.

Next the main ragam of the day Kharaharapriya was taken up. The ragam was started by Kunnakudi BMK from mel sa and had a vivacious sojourn in to the mel sthayi prayogams for about ten minutes. The characteristic pidis of the ragam came out beautifully given his voice felicity and abundant manodharmam. After the violin interlude, Abhishek continued with equal verve and imagination
and finished the ragam. There were a few meditational phrases too in his alapana. The song was presented with the multitude of sangathis, adhering to the Semmangudi school padantharam. Neraval was done at Kantiki sundara and elaborate swarams with in built vyavaharams were sung by both the musicians which delighted the vast audience. After tani, came one song in praise of Siva- Siva siva sivabho in Nadanamakriya. I came out after that. It was 9.10 P.M. The concert had gone into two hours and ten minutes. It would have been over with one more song.

Commendable support on the violin came from H.N.Bhaskar who extracted the maximum musical value from his bow, through palpable modulation. His high manodharmam, follow up of kritis and tone of the violin enriched the concert to a great extent. Anantha R. Krishnan is a class act in every way. He sits always composed and self-possessed in every concert. He has a powerful stroke matched by speed and sensitivity.
He has an extremely keen sense of musicianship that srives to enhance the main music. But in this concert, I felt that the instrument gave him some problems. He was always checking the sruti, adjusting it and taking intermittant breaks. But he heightened the sense of enjoyment of the concert in no small measure. Sreesunderkumar on the Ganjira embellished the concert with his strong and light strokes and the tani received repeated applause.

shankarank
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Joined: 15 Jun 2009, 07:16

Re: ABHISHEK RAGHURAM/KUNNAKUDI BALAMURALI-VANI MAHAL-24/2/17

Post by shankarank »

CRama wrote: 25 Feb 2017, 12:40 There was a very elaborate high decibel neraval at Dharanija bhagavathagresaru—with the mel kalam neraval reaching the highest decibel commanding a full house applause. This is exactly what I had written in the review of TMK concert. This long high decibel neraval ending without the following swaras was also one aberration started by TMK which now many male singers are following. I feel disappointed when the swarams are skipped after the neraval.
Neraval itself if it is made into svarams where is the need for svarams ? ;)

There is a mountain of difference between high decibel mEl kAlam of these guys and that of TMK ( or his entire generation). These guys have heightened sense of layam , which that generation did not have - as they say some traits skip a generation goes from Grandpa - to - Grandkids!

So there is no comparison!

And that is what I wrote in that other thread!!! ;)

CRama
Posts: 2939
Joined: 18 Nov 2009, 16:58

Re: ABHISHEK RAGHURAM/KUNNAKUDI BALAMURALI-VANI MAHAL-24/2/17

Post by CRama »

shankarank wrote: 27 Feb 2017, 21:25 Neraval itself if it is made into svarams what is the need for svarams ;)
That is what TMK says. But I never subscribe to the above arguement. Each has distinct flavour and they have unique space in our music format. That way, neraval is also raga elaboration with the use of the chosen sashithyam set to a rhthmic pattern. Does that mean that neraval can take the place of raga alapana. They are not inter exchangeable. For aesthetics and space, we do certain things for certain songs and the main song, since it will be in a big ragam and grand kriti, we do neraval and swaram besides the raga alapana. If time permits and if the singer is in good mood, they sing tanam also for the main song. I do feel that the main song should at least have raga alapana and swarams if time is a constraint.

CRama
Posts: 2939
Joined: 18 Nov 2009, 16:58

Re: ABHISHEK RAGHURAM/KUNNAKUDI BALAMURALI-VANI MAHAL-24/2/17

Post by CRama »

In this concert, my prick was that till main song, there was no swaram. Because it was Abhishek and KBMK, they could carry the concert without sag. They could have sung swaram for one song with more planning.

pperumal
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Joined: 15 Oct 2013, 00:13

Re: ABHISHEK RAGHURAM/KUNNAKUDI BALAMURALI-VANI MAHAL-24/2/17

Post by pperumal »

I miss the Kunnakudi Balamurali of a few years back.
Though he was struggling with an unfortunate voice problem, his music touched me more.
Now he seems to be heavily on the same trajectory as that of Abhishek.
Sigh :roll:

- PP.

shankarank
Posts: 4043
Joined: 15 Jun 2009, 07:16

Re: ABHISHEK RAGHURAM/KUNNAKUDI BALAMURALI-VANI MAHAL-24/2/17

Post by shankarank »

That may be a feeling generated out of seeing both on same stage!. Abhishek is more Dr BMK type. Kunnakudi BMK is more TNS texture - at least as much I felt when I heard KBMK singing koluvaiyunnADE - Bhairavi @ Dallas - I think 2015 tour.

But if Sruti Suddha sowkyam music available in plenty everywhere else - why demand that in a place where focus is something else. Now don't retort on what I am upto with KAP.. KAP has to be appreciated for what he is - that's why I want a little more emphasis! Little more fidelity to traditional sollus which are unique to his school - than the band drum play sometimes!

I hear you plea that KBMK has to become more expressive on melody! A balance has to be struck - but that is not going to happen by going back to older days.

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